During the last decade (2005)(2006)(2007)(2008)(2009)(2010)(2011)(2012)(2013)(2014)(2015), artists from all over the world have taken on climate change as the subject matter of their work. Encouraged by activists (most notably Bill McKibben), artists have appropriated climate change as a social problem and decided that they too, alongside journalists, scientists, and activists, were called upon to engage with this issue. Dozens of noteworthy exhibitions, most notably in Boulder (2007) (2015), have placed climate change art on the map as a new and timely genre, displaying relevant artworks both alongside climate negotiations and in dedicated gallery spaces such as the Barbican in London. I argue that much progress has been made in appropriating climate change art as an essentially artistic, rather than propagandistic or activist practice. Although caught in the net of many criticisms, climate change art plays a crucial role in allowing the public to rethink the role of human beings' everyday activities in irrevocably altering the climate system. In effect, climate change art makes the Anthropocene a cultural reality. However, the review points out a strong artistic trend toward the imagery of apocalyptic sublime, which results in art that may be poignant, but falls out of step with the self-professed motivations of artists and curators alike.

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In 2013-2016, we designed and implemented Wikid Grrls, a 10-week after-school workshop series to teach online skills to middle school girls in U.S. schools. We interviewed and surveyed eighty participants before and after the workshop. Girls' online skills and confidence in them increased for the duration of the workshop series. Participants expressed great interest in learning more, but media literacy programs at their schools emphasizing online skills were lacking. Using feminist theories and the reader-to-leader framework, we argue that such media literacy interventions bring immediate learning rewards for participants. Further, we conclude that media literacy classes that include online skills should become regular features in U.S. school curricula instead of being offered merely in voluntary programs. This is essential to narrow gender gaps in digital knowledge creation and sharing. Future research is needed to assess long-term benefits of media literacy interventions to teach online skills longitudinally to see if, and how, such initiatives figure into subsequent schooling and career decisions.

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This chapter provides a comparative analysis of visual representations surrounding the killing of Osama bin Laden. In the minutes and hours after the news of bin Laden's killing broke across social media and then through President Barack Obama's brief May 1 speech to the nation, news outlets across the world scrambled to cover the story of the decade. With no immediately forthcoming photos of bin Laden's corpse, mainstream news outlets were excused from the ethical as well as moral binary decision about whether to show or not show images of bin Laden's corpse. Instead, news outlets the world over had a set of decisions to make about what kind of image to select to accompany the announcement of bin Laden's death. The choice of which visual would lead the news became a complex, even political decision. Some news outlets chose to run archival photos of bin Laden; others used iconic images of al Qaeda's attack on the World Trade Center towers on 9/11. In essence, through their choices, news outlets decided how to visually “frame” the death of Osama bin Laden, the world's most wanted man.